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• The Arris  Akdeniz, Aziza Lucia ( University of Oregon , 2010-09 ) A collection of poems.
• The Saint and the Crows  Whitenack, Claire Lenore, 1985- ( University of Oregon , 2010-06 ) A collection of poems.
• If I Am a Stranger  Biebelle, Patricia Z., 1979- ( University of Oregon , 2010-06 ) I. If I Am a Stranger -- II. Mystery -- III. Census -- IV. The New You -- V. Feet -- VI. Pillar -- VII. Obligation -- VIII. Hide Your Fires -- IX. Something to Believe
• Equal And Opposite  Fleming, William, 1972- ( University of Oregon , 2009-09 ) Fiction
• Magic Circle: A Novel  Kepka, Jennifer A., 1979- ( University of Oregon , 2009-06 ) Chapter I. Prologue -- Chapter II. The Gerhardts -- Chapter III. Frank and Evelyn
• Sanctuary  Brown, Andrea, 1979- ( University of Oregon , 2008-09 ) sermon for a believer -- the gospel -- sanctuary -- me an punkin an alla'dem -- ninth ward -- before the war of the righteous everybody go get saved -- meditation on a little black dress -- from the purple letters -- how ...
• What Adults Do: Stories  Bushnell, John Thompson, 1980- ( University of Oregon , 2007-12 ) The Evacuation -- What adults do -- Bricks -- Townie -- Listening -- The Uncertainty principle

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Home > Dissertations and Theses > Creative Writing (MFA) Theses

Creative Writing (MFA) Theses

Below is a selection of dissertations from the Master of Fine Arts in Creative Writing program in Wilkinson College that have been included in Chapman University Digital Commons. Additional dissertations from years prior to 2019 are available through the Leatherby Libraries' print collection.

Access to these theses is restricted to the student authors and select Chapman University faculty and staff.

Theses from 2024 2024

Body as Kintsugi , Anthony Alegrete

Shivers , Casie Gambrel

The House of Half-Light , Diego Garcia

The Detectives Club , Yuya Hattori

I Have to Believe This Story to Live , Sarah Johnson

Fissure , Henneh Kwaku Kyereh

The Doldrums , Bailey Powell

A Siren of Terror , Tlotlo Tsamaase

Theses from 2023 2023

Little Girls , Nour Abuelreich

The Second Life of the Nodosaur , Sinclair Adams

Hiraeth , Belana Beeck

Bitterroot Tea , Kimberly Madsen Bowcutt

You Can't Make Me: Stories , Kayla Chang

The Dragon in the Lake , Elizabeth Chen

The Night We Saw Together , Su Chen

Nightfall , Nicole Cook

If God Carried Water , Ximena Delgado Paredes

The Curse of the Rios Family , Samantha Diaz

The collection bag and other stories , Audrey Fong

Alpha Romeo , Todd Gilbert

Beaumont Court , Elena Goodenberger

You Can Find Me Here , Piper Gourley

Spring All Year Long and Other Stories , Kate Hampton

Short Stories From the Other World , Nina Handjeva-Weller

Reaching for Fairies , Rebekah Izard

Do Black Girls Go to Heaven? , Montez Jennings

DIY , Louis Labat

Amarie, Before and After , Matthew Lemas

The Apartments That Raised Me , Mikayla McLean

Clockwork Monstrum , Vesper North

On Becoming a Runner , Deborah Paquin

Shatter / Proof , Lydia Pejovic

Accordance , Isabelle Stillman

The Reaper , Elizabeth N. Tran

After the Body , Emily Velasquez

deep in the green lilac park , Constance von Igel de Mello

Theses from 2022 2022

Autogynéphale , Jay Dye

Running Catalina , Megan Friess

Voice of a Matriarch Contemporary Diasporic West Asian Life Writing: Out of Armenia, Syria, and Lebanon , Maya Theresa Garabedian

It Could Happen to Anyone , Joshua D. Granite

End of the Road , Michael Khuraibet

Dangle Charm from Unblessed String , Ian Koh

Cold Comfort , Alec Meden

Notes of Venom and Vengeance , Makena Metz

The Cantankerous: A Ponderosa Pines Tale , Hannah Montante

The Barrier , Ansalee Morrison

Future Unlimited , Alexander Quintanilla

These Stars We Pray To , Janalee Tabayoyong

Becoming Brotherless , Aria Valle

Theses from 2021 2021

Save Me A Song , Aysel Atamdede

The Aleph , Ariel Banayan

Circle Gets the Square , Cristian Bourgeois

Her Inner , Marrissa Childs

The Hidden Grave , Melissa Gaiti

A Collection of Short Stories： Too Real To Be Fake , Shengjie Ge

Seasons of Fate , Christopher Hines

Voodoo Dolls, Automatons, Avatars and Other Literary Doubles , Destiny Irons

I Took His Words , Rachel Jeffries

All You Knead Is Love , Ryan Alyson Johnson

Deficit , Phoebe Merten

Son of a Preacher Man & Other Poems , Daniel Miess

Carácter , Santa-Victoria Pérez

The Ghosts We Leave Behind: A Novel , Sam Risak

We Sink Beneath the Sand , Natalie Salagean

Circles of Dawn , Jason M. Thornberry

The Madness We Carry , Geneva Trelease-Gordon

Whispers From Scotland , Sarah Nicole Valadez

Vampire Money , Jacob VanWormer

The Terrarium , Paige Welsh

Mudlark , Candice Yacono

First Light , Tryphena Yeboah

Theses from 2020 2020

Party on a Roof , Samer Alrayes

School of Artistas Inmigrantes , Manuel Calvillo de la Garza

The Sixth Try , Winnie Chak

Don't Ruin the Experience , Jocelyn Foster

Limerence: A Kaleidoscopic Coming Out Story , Matthew Goldman

A Pocketful of Secrets , Larissa Lacy

Thoughts From Your Bartender , Nikolas Loyatho

Dream On , Jonathan Moch

When It Was Us , Victoria O'Leary

From Sicily to America: An Immigrant's Story , Marco Randazzo

Ringed In Fire , Natalia Sanchez

Letters to a Dead Someone: Stories , Danielle Shorr

Wrestletopia: A Collection of Shorts , Daniel Strasberger

In the Middle of What , Ashley Teller

The Memory of the Universe , Karina Trejo Melendez

Lady Parts , Allie Vernon

Right There , Morgan Wilson

The Blizzard , Phil Wood

Little Monsters , Kati Zamani

Theses from 2019 2019

The Tall-Men Are Real , Alex Athanail

Indiana and Other Indianas: Stories , Andrew Beckner

GROUPIE , Meg Boyles

Letty , Kevin Brown

The Searching Husband , Rahul Chak

The Watched , Sierra Ellison

Searching for Sacajawea and The Square Dance , Melinda Guilford

Interpretation Machine: A Memoir , Liz Harmer

Their Bodies Are Home , Rachel Jorquera

Hostage , Maryam Khamesi

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English BA: Dissertation in Creative Writing

• Introduction to Linguistics
• Research Skills
• Poetry Matters
• Literary Criticism: Theory into Practice
• Staging Scandal: Classical to Contemporary Drama
• Starting points in Creative Writing
• Critical Theory
• Structures of Spoken English
• Robots and Rebels: Writing Genre Fiction
• Shakespeare's Sceptred Isle: Power and Performance
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• The Short Story
• Education Research and Practice
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• Dialects in Literature and Film
• After the Apocalypse: Writing the Contemporary
• Stranger Things: Young Adult Fiction
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Welcome to your  Dissertation in Creative Writing  reading list. Here you will find the resources to support you throughout your module.

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Creative Writing

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Online Dissertation Resources

Dissertations, useful links to online dissertations and theses, university of roehampton theses & masters dissertations, using a thesis held in the roehampton repository in your own work, academic writing style guides.

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We have a range of online resources to help plan, write and finish your dissertation. Although this is aimed primarily at 3rd Year Undergraduates and Postgraduate Taught students, it contains information that can be useful to Postgraduate Research Students.

• Sage Research Methods (Library Database) Provides a range of useful tools including a Project Planner, which breaks down each stage of your research from defining your topic, reviewing the literature to summarising and writing up.
• Literature Reviews Checklist - Handout
• Components of a Dissertation (document) A useful guide to the central components of a dissertation. By the end you should be able to: --Understand the core elements that should be in your dissertation --Understand the structure and progression of a strong dissertation
• Dissertation Workshop - Handouts Includes a planning template and outline
• Dissertation Workshop Slides
• Writing Your Dissertation Guide - Handout

Other Resources

• Reading Strategies (PDF document) An interactive document on reading at university.
• How To Write A Literature Review Video - Queen's University Belfast 10 minute video
• Start to Finish Dissertations Online Webinar from Manchester
• A to Z of Literature Reviews - University of Manchester 20 minute tutorial
• Appendices A short example of how to use and cite appendices in your dissertations, essays or projects

Check out these recordings to help you through your Dissertation writing process, from start to finish. 

• Starting Your Dissertation (Video) 46 minutes This webinar recording will help you with the early stages of planning, researching and writing your dissertation. By the end you should be able to: --Understand the challenges and opportunities of writing a dissertation --Move towards refining your subject and title --Know what steps to take to progress with your dissertation
• Writing Your Dissertation (Video) 52 minutes This webinar recording will help guide you through the middle stages of writing your dissertation. By the end you should be able to: --Identify the key parts of a high quality dissertation --Understand how to structure your dissertation effectively --Know how to increase the fluency and strength of your argument across an extended piece of writing 
• Finishing Your Dissertation (Video) 59 minutes This webinar recording aims to guide you through the final stages of writing your dissertation. By the end you should be able to: --Identify key features that should be included in your dissertation --Know how to ensure your dissertation has a strong and cohesive structure --Proofread your work.
• Using Word to Format Long Documents (Video) 1 hour and 22 minutes A video tutorial on how to format long documents such as Essays and Dissertations using Word. By the end you should be able to: --Create a Table of Contents --Know how to insert page numbers --Be familiar with how to use the various auto-formatting and styles functions to manage longer documents

A selection of external sources that would be of particular use to 3rd Year Undergraduate students and Postgraduate students. 

Please note that the Library does not hold Undergraduate or Masters Dissertations. For information on print and online doctoral theses please see below information on University of Roehampton Thesis Collection

National thesis service provided by the British Library which aims to maximise the visibility and availability of the UK's doctoral theses. NOTE: EthOS is currently unavailable due to ongoing issues following a serious cyber security incident at the BL (January 2024). 

EBSCO Open Dissertations is an online thesis and dissertation database with access to over 800,000 electronic theses and dissertations worldwide.

• DART-Europe E-theses Portal Free access to nearly 800,000 open access research theses from 615 universities in 28 European countries.
• Open Access Theses and Dissertations OATD.org aims to be the best possible resource for finding open access graduate theses and dissertations published around the world. Metadata (information about the theses) comes from over 1100 colleges, universities, and research institutions. OATD currently indexes 5,153,410 theses and dissertations.

The university holds a selection of theses and master dissertations awarded by the University of Roehampton.

2013 onwards, Digital Theses

Roehampton Research Explorer - Student Theses

Theses subject to an embargo are not accessible digitally or in hard copy until the embargo period elapses. Embargoes may be applied to protect the rights of the author whilst they explore opportunities for publication, or where sensitive information is held within the thesis.

Please note  that there is a short delay in recently submitted theses appearing on our repository. If you cannot find the thesis you are looking for, please  contact the Research Office .

2004-2013, Print Theses & Masters Dissertations

The University holds a print Theses Collection (including some Masters dissertations) on the 2 nd Floor of the Library. The holdings are not complete as the criteria for inclusion was set by academic departments, and threshold varied between department. Not all student work would be made available to view. The selected works were intended to provide examples of work for students. Some examples were kept in-house, used for teaching purposes, and not available within the library.  Library print holdings were usually kept for up to 10 years and reviewed for relevance.

To search for print theses and masters dissertations use UR Library Search to search for a title or topic and filter by Format > Book > Theses, Dissertation.

1985-2004, Roehampton Institute of Higher Education (RIHE)

Dissertations and theses published between 1985-2004 were awarded by the University of Surrey. The holdings are not complete as the criteria for inclusion was set by academic departments, and threshold varied between department. Not all student work would be made available to view. The selected works were intended to provide examples of work for students.

To search for digitised copies of RHIE theses go to the University of Surrey’s Open Research repository .

You may re-use material from a thesis in the same way you would any other source, i.e. by providing a full citation to the thesis in question, and by not re-using material in a way that may breach the rights of the author.

If you feel your own copyright has been affected by content held in the University of Roehampton repository, please refer to our take down policy and contact us immediately.

• Government Guidance on exceptions to copyright Details of the exceptions to copyright that allow limited use of copyright works without the permission of the copyright owner.
• Academic Style Guides Resource List See the style guides available in the Library for a variety of disciplines
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• Last Updated: Mar 26, 2024 1:22 PM
• URL: https://library.roehampton.ac.uk/creativewriting

Continuing Writing: The Creative Writing Dissertation module (EN53001)

The Creative Writing Dissertation gives you the opportunity to utilise all creative, aesthetic and scholarly resources that are relevant to the completion of your manuscript and its accompanying introduction.

At the end of the period of writing and study in your area you will have gained the confidence and sense of ability that comes with postgraduate research activity.

This alone sets your creative practice in a serious, objective context that is a proper indication of your sense of yourself as a writer and artist – and gives you, upon completion and presentation of your masters Creative Writing Dissertation, a literary example that you can use as an marker for all other creative and intellectual work that may follow.

• One writing project agreed by student and supervisor - up to a limit of 15,000 words (80%)
• One critical introduction or essay reflecting on aspects of the above work - total 3,000 words (20%)

Prof Kirsty Gunn

The writing of the Dissertation, or Manuscript, will be led by individual supervision - guiding you along the way in all aspects of writing, editing and completion of a piece of creative work.

There will be three individual supervisory meetings throughout the semester, supplemented with feedback provided by email.

Dissertation Writing: Home

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Dissertation writing.

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What is a dissertation? An extended essay exploring a specified research question or area of practice in depth. Although the word count can vary it is usually longer than most essays, between 5000 - 10000 words.

Your dissertation should demonstrate your ability to:

• Study independently;
• Plan and undertake an in-depth piece of research;
• Select and evaluate information;
• Develop a reasoned argument based on examples and evidence;
• Communicate your ideas and findings effectively.

Dissertation Webinars For further help see -  Library & Learning Webinars and Events  (see Recorded Webinars tab and Dissertations).

Developing your research Consider your overarching hypothesis and the argument you are going to construct. Be aware that these may change as your research deepens. Use tutor and peer feedback to develop your research.

Begin writing before you have completed your research, because the process of writing will help you clarify your ideas and inform your research.

Research methods To some extent, the topic you choose to investigate will be shaped by existing studies on related topics, so it is important to explore existing literature.

Once you have some awareness of what has already been written about, you need to select the texts, ideas and methods that are most relevant to your particular enquiry.

You may want to research people’s responses to a recent phenomenon, and there may not be very much written about your specific topic: in which case look at the ways that other people have investigated public opinion, find out more about primary research methods (e.g. writing and delivering surveys, interviews, carrying out focus groups and observations etc.)

However, many art subjects are continuations or variations of existing practices and disciplines, and a lot of research is based on evaluating existing texts, which is known as secondary research (e.g. texts written by another researcher).

See also: Finding Resources

See 'The Introduction' under the 'Writing' tab at: Essay Writing .

For longer pieces of writing, chapters serve to break up sections that have different, but related topics. Traditionally, dissertations included a literature review as the first chapter (after the introduction), and a methodology, but check your course requirements.

Chapters can be arranged into key themes, case studies, or they can follow the development of something, chronologically. How you organise them will depend on your topic, and what you want to emphasize. It is helpful for your reader if you explain how you have arranged your chapters in the introduction, so that they know what to expect.

See: Literature Reviews

A methodology is a theoretically-informed approach to the production of knowledge. It usually refers to a chapter or section of a chapter that explains how you went about finding and verifying information, and why you used the methods and processes that you decided to use.

Since research is about finding out more about a subject, methodologies are designed to aid the process, so a good starting point is deciding what you want to find out.

• Your research question (aim)
• What smaller questions (objectives) you think you may need to explore in order to answer your main research question (aim)
• What practical experiments/primary research/secondary research activities you think you will need to undertake to answer these questions (objectives)

You might want to write a list of what you are going to do. However, a methodology is more than simply the methods you intend to use to collect data. You need to include a consideration of the concepts and theories which underlie your chosen methods, and to state how you have addressed the research questions and/or hypotheses.

Every stage should be explained and justified with clear reasons for the choice of your particular methods and materials. Ideally, the methods should be described in enough detail for the study to be replicated, or at least repeated in a similar way in another situation. If your research is mainly secondary, then much of this will be covered in the literature review and you may choose to combine the two (a critical review).

Methods vary both within and between disciplines: talk to your supervisors and evaluate methodologies written by other researchers in your field.

Research Methods Research methods are frequently divided into two categories: primary and secondary research.

• Primary research includes interviews, surveys, observations and questionnaires – research where the student gathers first hand evidence.
• Secondary research is found in sources such as academic books and journals and is the usual route for the contextual and theory-based dissertation. Secondary research should be done before primary research is carried out, as this will inform the research design.

However, when you Google or search online for a guide to writing a methodology, you are commonly given a scientific methodology structure which emphasises the experiment and results. In an arts and humanities based subject, a methodology is not a systematic description of how you arrived at your conclusion or result. Rather, it could take a critical approach that is grounded in theory (perhaps social theory such as Marxism, Feminism, or Post-humanism, for example), and the use of literature to support this which may be applied to case studies or examples.

The choice of research methods depends on what you want to find out: the data or findings you need to support your discussion of your chosen research subject.

Research Findings Research findings, that is the information related to the topic you are investigating, falls roughly into two categories - quantitative (numbers and statistics) and qualitative (words, images, objects and meanings).

• Quantitative methods might include experiments, observations recorded as numbers, and surveys with closed-ended or multiple-choice questions. The findings are usually presented in tables, charts or percentages.
• Qualitative methods might include interviews with open-ended questions, observations described in words, and literature reviews that explore concepts, narratives and theories and is open to interpretation.
• It is important not to consider them to be mutually exclusive: for example, the process of designing an effective survey or questionnaire to gather quantitative data will probably include some qualitative research into different approaches and formats of questionnaires, and this will need to be underpinned by your own evaluation of what would be most effective.

Structure Have a short introduction which tells your reader the overall aim of the research. what methods and procedures have been used, with a rationale to explain how the approach is appropriate to the research questions and aim.

Establish links between the question and the method, e.g. if the question revolves around a feminist debate on the representation of women in advertising, then a survey of people's opinions on this would not be as valuable as academic texts that engage with these current debates at a theoretical level.

Describe the specific methods of data collection.

Establish your analytic framework (theoretical perspective) and interpretation of your findings.

Your conclusion should bring together the main themes, findings and overall point of your essay. In order to do this, it is a good idea to refer to both the assignment question and your introduction, so that your conclusion is consistent with them. For example, if you have looked at an argument weighing up the pros and cons of something, you should summarise why you lean towards one opinion above others, or explain why a variety of approaches are valid for different reasons. It is not necessary to state a definitive answer to your question, but you should bring together the key elements that you have investigated, so as to justify your stance.

See also 'The Conclusion' under the 'Writing' tab at Essay Writing .

Academic style Being able to express your ideas in formal English is a requirement for many written course assignments: it is also a valuable transferrable skill in terms of employability. Academic writing demonstrates your ability to present your ideas convincingly, with clarity accuracy and authority. Some good examples of academic phrases are available on the Manchester Academic Phrasebank .

General guidelines for academic style include:

• Use signposting words to introduce and link your ideas, and help your reader follow your ideas. For example, rather than ‘Picasso experimented with cubism’ use ‘Picasso’s experiments with cubism were significant because…’
• Use objective language (the third person, rather than the first): e.g. rather than 'I believe that it is difficult to say how much an artwork is worth…’ use 'It is often difficult to estimate the value of an artwork, for example...’
• Use accurate language and subject-specific terminology, e.g. Rather than stating ‘Media stereotypes women' be specific: ‘The film Showgirls (1995) has been criticised for representing the female characters as stereotypical and highly sexualised.’ or ‘in the 1960s’ rather than ‘In the old days…’ (try to avoid assumptions and generalisations: e.g. everyone uses facebook, everybody knows…)
• Avoid contractions: e.g. use ‘do not’, rather than ‘don’t’, or ‘cannot’ rather than ‘can’t’ (this affects word count as well)

None of these guidelines are always applicable – there may be times when it is appropriate to use first person (I) to refer to personal experiences and opinions, and there may be times when you want to assert strong opinions. As with any piece of writing it will depend on what you want to communicate. However, essays are usually assessed on the knowledge demonstrated by the writer and using accurate terminology and statements rather than questions present a more convincing argument than phrases used in spoken English, such as ‘I feel…’ or ‘in my opinion…’.

Using evidence Providing evidence to demonstrate that you have researched your topic, and are aware of other studies and opinions about it, is a distinctive feature of academic writing. You should refer to the ideas and findings of others to support your argument, but the main voice should be your own.

Do not use a quotation unless you make it clear to your reader why you are using it and how it relates to the overall discussion. By interpreting other people's work you can indicate the significance of their ideas to your own argument. By commenting on or evaluating the work of others you demonstrate your own understanding of the topic you are investigating and indicate how you position yourself in relation to existing scholarship.

Evidence could be a direct or paraphrased citation from a variety of different sources to support your argument. Academic writing should contain citations, but they should not constitute more than 25% of your word count.

For information about how to evidence and refence your work correctly, see Harvard Referencing .

Citations are used in the body of your writing to indicate when you have referred to someone else’s writing, work or ideas. Your citations provide some basic information about the sources you used, and link to your bibliography, which provides more detailed information about your sources and how you accessed them.;

• the author's surname
• the year of publication
• the page number (where applicable)

So, a UCA Harvard citation from a book or journal article would be formatted like this:  (Butler, 2006:8)

Direct citations need to include speech marks , for example:

"whatever biological intractability sex appears to have, gender is culturally constructed" (Butler, 2006:8)

To integrate quotations within your paragraphs, you may want to introduce the author before quoting them, for example:

The architect Daniel Libeskind (1997:153) argues that “in representing the making of architecture as an autonomous activity (having more affinity to technique than science) this thinking intentionally narrows itself to a process of date collecting operations.

Indirect citations are paraphrased in your own words, and can be used to summarise and integrate others' ideas into your writing. Paraphrasing is more complex than changing the occasional word, you must convey the author’s original meaning.

For example, here is a direct quotation:  “Of course, if women could subvert so-called masculine traits by adapting and adopting masculine fashions, then it was also possible for men to procure feminine styles for themslves, and, as the century progressed, the cries of ‘gender confusion’ by media and academic commentators became increasingly loud” (Arnold, 2001:101)

This direct quotation could be paraphrased like this:  Increasing discourse surrounding gender emerged as the traditional distinctions between male and female fashion became blurred (Arnold, 2001:101).

Or, like this: Traditional notions of gender were challenged by women wearing fashions usually intended for men and men wearing fashions usually intended for women (Arnold, 2001:101).

Note: As shown in the examples above, Indirect citations do NOT need to include speech marks.

For more information of formatting citations, see Harvard Referencing .

Using illustrations Illustrations are another form of evidence, and should be used as support for:

• Comparison;
• Deconstruction;
• Interpretation;
• Extrapolation.

Each image should have its own figure number and the numbers are allocated by order of appearance. The first image in your written work will be Figure 1, the second will be Figure 2, followed by Figure 3, Figure 4 and so on. If the image you are using is a named work of art, you should include the name of the artist, the tile, the year of production (in round brackets), the medium [in square brackets] and its dimensions in the caption. For an example, see below.

If your image does not have a name, your caption should simply describe what the image is. The caption, like all titles in the Harvard refencing system, must be in italics.  The year of publication, medium [in square brackets] and year (in round brackets).

For more information on formatting images, captions and your list of illustrations in Word documents see Microsoft Help on Inserting Pictures and Harvard Referencing .

Formatting your work Check the criteria for layout and contents recommended by your course. This may be in the handbook or the dissertation briefing documents.

General presentation: Dissertations should be word-processed and their overall presentation and layout should be reader-friendly.

• Number your pages;
• Set it out on A4 paper;
• Use 1.5 or double-line spacing;
• Use a readable font (e.g. Times New Roman or Arial);
• Use at least a 12 point font.
• The front cover/title page;
• The full title;
• Your full name;
• The qualification/course you are studying;
• The name of the Institution (UCA);
• Year of submission;
• Name of your tutor/assessor;
• Word count.
• The introduction;
• Titles of chapters;
• The conclusion;
• List of illustrations;
• Bibliography;
• Appendices.

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Ph.D. Creative Writing

Ph.d. in creative writing.

A rigorous program that combines creative writing and literary studies, the Ph.D. in Creative Writing prepares graduates for both scholarly and creative publication and teaching. With faculty guidance, students admitted to the Ph.D. program may tailor their programs to their goals and interests.

The creative writing faculty at KU has been widely published and anthologized, winning both critical and popular acclaim. Faculty awards include such distinctions as the Nebula Award, Hugo Award, Osborn Award, Shelley Memorial Award, Gertrude Stein Award, the Kenyon Review Prize, the Kentucky Center Gold Medallion, and the Pushcart Prize.

Regarding admission to both our doctoral and MFA creative writing programs, we will prioritize applicants who are interested in engaging with multiple faculty members to practice writing across genres and forms, from speculative fiction and realism to poetry and playwriting/screenwriting, etc.

The University of Kansas' Graduate Program in Creative Writing also offers an  M.F.A degree .

Opportunities

A GTA appointment includes a tuition waiver for ten semesters plus a competitive stipend. In the first year, GTA appointees teach English 101 (first year composition) and English 102 (a required reading and writing course). Creative Writing Ph.D. students may have the opportunity to teach an introductory course in creative writing after passing the doctoral examination, and opportunities are available for a limited number of advanced GTAs to teach in the summer.

Department Resources

• Graduate Admissions
• Graduate Contacts
• Master of Fine Arts (M.F.A.)

Affiliated Programs

• LandLocked Literary Magazine
• The Project on the History of Black Writing
• Center for the Study of Science Fiction
• Ad-Hoc African/Americanists and Affiliates

Degree Requirements

• At least 24 hours of credit in appropriate formal graduate courses beyond the M.A. or M.F.A. At least 15 hours (in addition to ENGL 800 if not taken for the M.A.) of this course work must be taken from among courses offered by the Department of English at the 700-level and above. English 997 and 999 credits cannot be included among the 24 hours. Students may petition to take up to 6 hours outside the Department.
• ENGL 800: Methods, Theory, and Professionalism (counts toward the 24 required credit hours).
• The ENGL 801/ENGL 802 pedagogy sequence (counts toward the 24 required credit hours).
• Two seminars (courses numbered 900 or above) offered by the Department of English at the University of Kansas, beyond the M.A. or M.F.A. ENGL 998 does not fulfill this requirement.
• ENGL 999, Dissertation (at least 12 hours).

If the M.A. or M.F.A. was completed in KU’s Department of English, a doctoral student may petition the DGS to have up to 12 hours of the coursework taken in the English Department reduced toward the Ph.D.

For Doctoral students,  the university requires completion of a course in responsible scholarship . For the English department, this would be ENGL 800, 780, or the equivalent). In addition, the Department requires reading knowledge of one approved foreign language: Old English, French, German, Spanish, Italian, Russian, Japanese, Greek, Latin, or Hebrew. Upon successful petition, a candidate may substitute reading knowledge of another language or research skill that is studied at the University or is demonstrably appropriate to the candidate’s program of study.

Doctoral students must fulfill the requirement  before  they take their doctoral examination, or be enrolled in a reading course the same semester as the exam. Students are permitted three attempts at passing each foreign language or research skill. Three methods of demonstrating reading knowledge for all approved languages except Old English are acceptable:

• Presenting 16 hours, four semesters, or the equivalent of undergraduate credit, earned with an average of C or better.
• Passing a graduate reading course at the University of Kansas or peer institution (e.g., French 100, German 100, etc.) with a grade of C or higher. In the past, some of these reading courses have been given by correspondence; check with the Division of Continuing Education for availability.
• Passing a translation examination given by a designated member of the English Department faculty or by the appropriate foreign language department at KU. The exam is graded pass/fail and requires the student to translate as much as possible of a representative text in the foreign language in a one-hour period, using a bilingual dictionary.
• Passing a translation examination given by the appropriate foreign language department at the M.A.-granting institution. Successful completion must be reflected either on the M.A. transcript or by a letter from the degree-granting department.

To fulfill the language requirement using Old English, students must successfully complete ENGL 710 (Introduction to Old English) and ENGL 712 (Beowulf).

Post-Coursework Ph.D. students must submit, with their committee chair(s), an annual review form to the DGS and Graduate Committee.

Doctoral students must take their doctoral examination within three semesters (excluding summers) of the end of the semester in which they took their final required course. If a student has an Incomplete, the timeline is not postponed until the Incomplete is resolved. For example, a student completing doctoral course work in Spring 2018 will need to schedule their doctoral exam no later than the end of Fall semester 2019. Delays may be granted by petition to the Graduate Director in highly unusual circumstances. Failure to take the exam within this time limit without an approved delay will result in the student’s falling out of good standing. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

A student may not take their doctoral exam until the university’s Research Skills and Responsible Scholarship requirement is fulfilled (ENGL 800 or equivalent and reading knowledge of one foreign language or equivalent).

Requirements for Doctoral Exams

Reading Lists: 

All students are required to submit three reading lists, based on the requirements below, to their committee for approval. The doctoral exam will be held on a date at least twelve weeks after the approval from the whole committee is received. To facilitate quick committee approval, students may copy the graduate program coordinator on the email to the committee that contains the final version of the lists. Committee members may then respond to the email in lieu of signing a printed copy. Students should work with their committee chair and graduate program coordinator to schedule the exam at the same time as they finalize the lists.

During the two-hour oral examination (plus an additional 15-30 minutes for a break and committee deliberation), a student will be tested on their comprehension of a literary period or movement, including multiple genres and groups of authors within that period or movement. In addition, the student will be tested on two of the following six areas of study:

• An adjacent or parallel literary period or movement,
• An author or group of related authors,
• Criticism and literary theory,
• Composition theory, and
• English language.

No title from any field list may appear on either of the other two lists. See Best Practices section for more details on these six areas. See below for a description of the Review of the Dissertation Proposal (RDP), which the candidate takes the semester after passing the doctoral exam. 

While many students confer with the DGS as they begin the process of developing their lists, they are also required to submit a copy of their final exam list to the DGS. Most lists will be left intact, but the DGS might request that overly long lists be condensed, or extremely short lists be expanded.

Review of Literature

The purpose of the Review of Literature is to develop and demonstrate an advanced awareness of the critical landscape for each list. The student will write an overview of the defining attributes of the field, identifying two or three broad questions that animate scholarly discussion, while using specific noteworthy texts from their list ( but not all texts on the list ) as examples.

The review also must accomplish the following:

• consider the historical context of major issues, debates, and trends that factor into the emergence of the field
• offer a historical overview of scholarship in the field that connects the present to the past
• note recent trends and emergent lines of inquiry
• propose questions about (develop critiques of, and/or identify gaps in) the field and how they might be pursued in future study (but not actually proposing or referencing a dissertation project)

For example, for a literary period, the student might include an overview of primary formal and thematic elements, of the relationship between literary and social/historical developments, of prominent movements, (etc.), as well as of recent critical debates and topics.

For a genre list, the Review of Literature might include major theories of its constitution and significance, while outlining the evolution of these theories over time.

For a Rhetoric and Composition list, the review would give an overview of major historical developments, research, theories, methods, debates, and trends of scholarship in the field.

For an English Language Studies (ELS) list, the review would give an overview of the subfields that make up ELS, the various methodological approaches to language study, the type of sources used, and major aims and goals of ELS. The review also usually involves a focus on one subfield of particular interest to the student (such as stylistics, sociolinguistics, or World/Postcolonial Englishes).

Students are encouraged to divide reviews into smaller sections that enhance clarity and organization. Students are not expected to interact with every text on their lists.

The review of literature might be used to prepare students for identifying the most important texts in the field, along with why those texts are important to the field, for the oral exam. It is recommended for students to have completed reading the bulk of (if not all) texts on their lists before writing the ROL.

The Reviews of Literature will not be produced in an exam context, but in the manner of papers that are researched and developed in consultation with all advisors/committee members,  with final drafts being distributed within a reasonable time for all members to review and approve in advance of the 3-week deadline . While the Review of Literature generally is not the focus of the oral examination, it is frequently used as a point of departure for questions and discussion during the oral examination.

Doctoral Exam Committee

Exam committees typically consist of 3 faculty members from the department—one of whom serves as the Committee Chair—plus a Graduate Studies Representative.  University policy dictates the composition of exam committees . Students may petition for an exception for several committee member situations, with the exception of  the Graduate Studies Representative .

If a student wants to have as a committee member a person outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and Graduate Studies. Requests for exam/defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status

Remote participation of committee members via technology

Students with committee members who plan to attend the defense via remote technology must be aware of  college policy on teleconferencing/remote participation of committee members .

A majority of committee members must be physically present for an examination to commence; for doctoral oral examinations this requirement is 2 of the 4 members, for master’s oral examinations the requirement is 2 of the 3 members. In addition, it is required that the student being examined, the chair of the committee, and the Graduate Studies Representative all be physically present at the examination or defense. Mediated attendance by the student, chair and Grad Studies Rep is prohibited.

The recommended time between completion of coursework and the doctoral examination is two semesters.

Final exam lists need to be approved and signed by the committee at least 12 weeks prior to the prospective exam date. This includes summers/summer semesters. The lists should then be submitted to the Graduate Program Coordinator. Reviews of Literature need to be approved and signed by the committee at least 3 weeks prior to the exam date. Failure to meet this deadline will result in rescheduling the exam. No further changes to lists or Reviews of Literature will be allowed after official approval. The three-week deadline is the faculty deadline--the last date for them to confirm receipt of the ROLs and confer approval--not necessarily the student deadline for submitting the documents to the faculty. Please keep that timing in mind and allow your committee adequate time to review the materials and provide feedback.

Students taking the Doctoral Exam are allowed to bring their text lists, the approved Reviews of Literature, scratch paper, a writing utensil, and notes/writing for an approximately 5-minute introductory statement to the exam. (This statement does not need to lay out ideas or any aspect of the dissertation project.)

Each portion of the oral examination must be deemed passing before the student can proceed to the Review of the Dissertation Proposal. If a majority of the committee judges that the student has not answered adequately on one of the three areas of the exam, the student must repeat that portion in a separate oral exam of one hour, to be taken as expeditiously as possible.  Failure in two areas constitutes failure of the exam and requires a retake of the whole.  The doctoral examining committee will render a judgment of Satisfactory or Unsatisfactory on the entire examination. A student who fails the exam twice may, upon successful petition to the Graduate Committee, take it a third and final time.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the exam. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The doctoral oral examination has the following purposes:

• To establish goals, tone, and direction for the pursuit of the Ph.D. in English for the Department and for individual programs of study;
• To make clear the kinds of knowledge and skills that, in the opinion of the Department, all well-prepared holders of the degree should have attained;
• To provide a means for the Department to assess each candidate’s control of such knowledge and skills in order to certify that the candidate is prepared to write a significant dissertation and enter the profession; and
• To enable the Department to recommend to the candidate areas of strength or weakness that should be addressed.

In consultation with the Graduate Director, a student will ask a member of the Department’s graduate faculty (preferably their advisor) to be the chairperson of the examining committee. The choice of examination committee chair is very important, for that person’s role is to assist the candidate in designing the examination structure, preparing the Review of Literature (see below), negotiating reading lists and clarifying their purposes, and generally following procedures here outlined. The other three English Department members of the committee will be chosen in consultation with the committee chair. (At some point an additional examiner from outside the Department, who serves as the Graduate School representative, will be invited to join the committee). Any unresolved problems in negotiation between a candidate and their committee should be brought to the attention of the Graduate Director, who may choose to involve the Graduate Committee. A student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the examining committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

Reading Lists

Copies of some approved reading lists and Reviews of Literature are available from the Graduate Secretary and can be found on the U: drive if you are using a computer on campus. Despite the goal of fairness and equity, some unavoidable unevenness and disparity will appear in the length of these lists. It remains, however, the responsibility of the examining committee, and especially the student’s chair, to aim toward consonance with the most rigorous standards and expectations and to insure that areas of study are not unduly narrow.

To facilitate quick committee approval, students may copy the graduate secretary on the email to the committee that contains the final version of the lists and reviews of literature. Committee members may then respond to the email in lieu of signing a printed copy.

Comprehension of a literary period (e.g., British literature of the 18th century; Romanticism; US literature of the 19th century; Modernism) entails sufficient intellectual grasp of both the important primary works of and secondary works on the period or movement to indicate a student’s ability to teach the period or movement and undertake respectable scholarship on it.

Comprehension of an author or group of related authors (e.g., Donne, the Brontës, the Bloomsbury Group, the Black Mountain Poets) entails knowledge, both primary and secondary, of a figure or figures whose writing has generated a significant body of interrelated biographical, historical, and critical scholarship.

Comprehension of one of several genres (the short story, the lyric poem, the epistolary novel). To demonstrate comprehension of a genre, a student should possess sufficient depth and breadth of knowledge, both primary and secondary, of the genre to explain its formal characteristics and account for its historical development.

Comprehension of criticism and literary theory entails a grasp of fundamental conceptual problems inherent in a major school of literary study (e.g., historicist, psychoanalytic, feminist, poststructuralist, etc.). To demonstrate comprehension of that school of criticism and literary theory, a student should be able to discuss changes in its conventions and standards of interpretation and evaluation of literature from its beginning to the present. Students will be expected to possess sufficient depth and breadth of theoretical knowledge to bring appropriate texts and issues to bear on questions of literary study.

Comprehension of composition theory entails an intellectual grasp of fundamental concepts, issues, and theories pertaining to the study of writing. To demonstrate comprehension of composition theory, students should be able to discuss traditional and current issues from a variety of perspectives, as well as the field’s historical development from classical rhetoric to the present.

Comprehension of the broad field of English language studies entails a grasp of the field’s theoretical concepts and current issues, as well as a familiarity with significant works within given subareas. Such subareas will normally involve formal structures (syntax, etc.) and history of the English language, along with other subareas such as social linguistics, discourse analysis, lexicography, etc. Areas of emphasis and specific sets of topics will be arranged through consultation with relevant faculty.

Ph.D. candidates must be continuously enrolled in Dissertation hours each Fall and Spring semester from the time they pass the doctoral examination until successful completion of the final oral examination (defense of dissertation).

• Students enroll for a minimum of 6 hours each Fall and Spring semester until the total of post-doctoral exam Dissertation hours is 18. One hour each semester must be ENGL 999. In order to more quickly reach the 18-hour minimum, and to be sooner eligible for GRAships, it is highly recommended that students enroll in 9 hours of Dissertation in the Spring and Fall semesters. 
• Once a student has accumulated 18 post-doctoral exam  hours, each subsequent enrollment will be for a number of hours agreed upon as appropriate between the student and their advisor, the minimal enrollment each semester being 1 hour of ENGL 999.
• A student must be enrolled in at least one hour of credit at KU during the semester they graduate. Although doctoral students must be enrolled in ENGL 999 while working on their dissertations, per current CLAS regulations, there is no absolute minimum number of ENGL 999 hours required for graduation.
• Students who live and work outside the Lawrence area may, under current University regulations, have their fees assessed at the Field Work rate, which is somewhat lower than the on-campus rate. Students must petition the College Office of Graduate Affairs before campus fees will be waived.

Please also refer to  the COGA policy on post-exam enrollment  or the  Graduate School’s policy .

As soon as possible following successful completion of the doctoral exam, the candidate should establish their three-person core dissertation committee, and then expeditiously proceed to the preparation of a dissertation proposal.  Within the semester following completion of the doctoral exam , the student will present to their core dissertation committee a written narrative of approximately  10-15 pages , not including bibliography, of the dissertation proposal. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to take the review , students will work with their committee chair and the graduate program coordinator to schedule the 90-minute RDP. Copies of this proposal must be submitted to the members of the dissertation committee and Graduate Program Coordinator no later than  three weeks prior  to the scheduled examination date.

In the proposal, students will be expected to define: the guiding question or set of questions; a basic thesis (or hypothesis); how the works to be studied or the creative writing produced relate to that (hypo)thesis; the theoretical/methodological model to be followed; the overall formal divisions of the dissertation; and how the study will be situated in the context of prior scholarship (i.e., its importance to the field). The narrative section should be followed by a bibliography demonstrating that the candidate is conversant with the basic theoretical and critical works pertinent to the study. For creative writing students, the proposal may serve as a draft of the critical introduction to the creative dissertation. Students are expected to consult with their projected dissertation committee concerning the preparation of the proposal.

The review will focus on the proposal, although it could also entail determining whether or not the candidate’s knowledge of the field is adequate to begin the composition process. The examination will be graded pass/fail. If it is failed, the committee will suggest areas of weakness to be addressed by the candidate, who will rewrite the proposal and retake the review  by the end of the following semester . If the candidate abandons the entire dissertation project for another, a new RDP will be taken. (For such a step to be taken, the change would need to be drastic, such as a move to a new field or topic. A change in thesis or the addition or subtraction of one or even several works to be examined would not necessitate a new proposal and defense.)  If the student fails to complete the Review of the Dissertation Proposal within a year of the completion of the doctoral exams, they will have fallen out of departmental good standing.  For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

After passing the Review of the Dissertation Proposal, the student should forward one signed copy of the proposal to the Graduate Program Coordinator. The RDP may last no longer than 90 minutes.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the review. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The Graduate Catalog states that the doctoral candidate “must present a dissertation showing the planning, conduct and results of original research, and scholarly creativity.” While most Ph.D. candidates in the Department of English write dissertations of a traditional, research-oriented nature, a creative writing candidate may elect to do a creative-writing dissertation involving fiction, poetry, drama or nonfiction prose.  Such a dissertation must also contain a substantial section of scholarly research related to the creative writing.  The precise nature of the scholarly research component should be determined by the candidate in consultation with the dissertation committee and the Graduate Director. Candidates wishing to undertake such a dissertation must complete all Departmental requirements demanded for the research-oriented Ph.D. degree.

Scholarly Research Component (SRC)

The Scholarly Research Component (SRC) of the creative-writing dissertation is a separate section of the dissertation than the creative work. It involves substantial research and is written in the style of academic prose. It should be 15-20 pages and should cite at least 20 sources, some of which should be primary texts, and many of which should be from the peer-reviewed secondary literature. The topic must relate, in some way, to the topic, themes, ideas, or style of the creative portion of the dissertation; this relation should be stated in the Dissertation Proposal, which should include a section describing the student’s plans for the SRC. The SRC may be based on a seminar paper or other work the student has completed prior to the dissertation; but the research should be augmented, and the writing revised, per these guidelines. The SRC is a part of the dissertation, and as such will be included in the dissertation defense.

The SRC may take two general forms:

1.) An article, publishable in a peer-reviewed journal or collection, on a specific topic related to an author, movement, theoretical issue, taxonomic issue, etc. that has bearing on the creative portion. The quality of this article should be high enough that the manuscript could be submitted to a peer-reviewed publication, with a plausible chance of acceptance.

2.) A survey . This survey may take several different forms:

• A survey of a particular aspect of the genre of the creative portion of the dissertation (stylistic, national, historical, etc.)
• An introduction to the creative portion of the dissertation that explores the influences on, and the theoretical or philosophical foundations or implications of the creative work
• An exploration of a particular technical problem or craft issue that is salient in the creative portion of the dissertation
• If the creative portion of the dissertation includes the results of research (e.g., historical novel, documentary poetry, research-based creative nonfiction), a descriptive overview of the research undertaken already for the dissertation itself
• A combination of the above, with the prior approval of the student’s dissertation director.

The dissertation committee will consist of at least four members—two “core” English faculty members, a third faculty member (usually from English), and one faculty member from a different department who serves as the Graduate Studies representative. The committee may include (with the Graduate Director’s approval) members from other departments and, with the approval of the University’s Graduate Council, members from outside the University. If a student wants to have a committee member from outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and the Office of Graduate Studies. Requests for defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status.

The candidate’s preferences as to the membership of the dissertation committee will be carefully considered; the final decision, however, rests with the Department and with the Office of Graduate Studies. All dissertation committees must get approval from the Director of Graduate Studies before scheduling the final oral exam (defense). Furthermore, any changes in the make-up of the dissertation committee from the Review of the Dissertation Proposal committee must be approved by the Director of Graduate Studies.

Once the dissertation proposal has passed and the writing of the dissertation begins, membership of the dissertation committee should remain constant. However, under extraordinary circumstances, a student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the dissertation committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

If a student does not make progress during the dissertation-writing stage, and accumulates more than one “Limited Progress” and/or “No Progress” grade on their transcript, they will fall out of good standing in the department. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices

Final Oral Exam (Dissertation Defense)

When the dissertation has been tentatively accepted by the dissertation committee (not including the Graduate Studies Representative), the final oral examination will be held, on the recommendation of the Department. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to defend the dissertation, students should work with their committee chair and graduate program coordinator to schedule it.

Although the dissertation committee is responsible for certification of the candidate, any member of the graduate faculty may be present at the examination and participate in the questioning, and one examiner—the Graduate Studies Representative—must be from outside the Department. The Graduate Secretary can help students locate an appropriate Grad Studies Rep. The examination normally lasts no more than two hours. It is the obligation of the candidate to advise the Graduate Director that they plan to take the oral examination; this must be done at least one month before the date proposed for the examination.

At least three calendar weeks prior to the defense date, the student will submit the final draft of the dissertation to all the committee members (including the GSR) and inform the Graduate Program Coordinator. Failure to meet this deadline will necessitate rescheduling the defense.  The final oral examination for the Ph.D. in English is, essentially, a defense of the dissertation. When it is passed, the dissertation itself is graded by the dissertation director, in consultation with the student’s committee; the student’s performance in the final examination (defense) is graded by the entire five-person committee

Students cannot bring snacks, drinks, treats, or gifts for committee members to the defense. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student defenses but not others

These sets of attributes are adapted from the Graduate Learner Outcomes that are a part of our Assessment portfolio. “Honors” should only be given to dissertations that are rated “Outstanding” in all or most of the following categories:

• Significant and innovative plot/structure/idea/focus. The writer clearly places plot/structure/idea/focus in context.
• Thorough knowledge of literary traditions. Clear/flexible vision of the creative work produced in relation to those literary traditions.
• Introduction/Afterword is clear, concise, and insightful. A detailed discussion of the implications of the project and future writing projects exists.
• The creative dissertation reveals the doctoral candidate’s comprehensive understanding of poetics and/or aesthetic approach. The application of the aesthetic approach is innovative and convincing.
• The creative dissertation represents original and sophisticated creative work.
• The creative dissertation demonstrates thematic and/or aesthetic unity.

After much discussion about whether the “honors” designation assigned after the dissertation defense should be for the written product only, for the defense/discussion only, for both together, weighted equally, or eradicated altogether, the department voted to accept the Graduate Committee recommendation that “honors” only apply to the written dissertation. "Honors" will be given to dissertations that are rated "Outstanding" in all or most of the categories on the dissertation rubric.

Normally, the dissertation will present the results of the writer’s own research, carried on under the direction of the dissertation committee. This means that the candidate should be in regular contact with all members of the committee during the dissertation research and writing process, providing multiple drafts of chapters, or sections of chapters, according to the arrangements made between the student and each faculty member. Though accepted primarily for its scholarly merit rather than for its rhetorical qualities, the dissertation must be stylistically competent. The Department has accepted the MLA Handbook as the authority in matters of style. The writer may wish to consult also  the Chicago Manual of Style  and Kate L. Turabian’s  A Manual for Writers of Dissertations, Theses, and Term Papers .

Naturally, both the student and the dissertation committee have responsibilities and obligations to each other concerning the submitting and returning of materials. The student should plan on working steadily on the dissertation; if they do so, they should expect from the dissertation committee a reasonably quick reading and assessment of material submitted.

Students preparing their dissertation should be showing chapters to their committee members as they go along, for feedback and revision suggestions. They should also meet periodically with committee members to assess their progress. Prior to scheduling a defense, the student is encouraged to ask committee members whether they feel that the student is ready to defend the dissertation. Ideally, the student should hold the defense only when they have consulted with committee members sufficiently to feel confident that they have revised the dissertation successfully to meet the expectations of all committee members.

Students should expect that they will need to revise each chapter at least once. This means that all chapters (including introduction and conclusion) are shown to committee members once, revised, then shown to committee members again in revised form to assess whether further revisions are needed, prior to the submitting of the final dissertation as a whole. It is not unusual for further revisions to be required and necessary after the second draft of a chapter; students should not therefore simply assume that a second draft is necessarily “final” and passing work.

If a substantial amount of work still needs to be completed or revised at the point that the dissertation defense is scheduled, such a defense date should be regarded as tentative, pending the successful completion, revision, and receipt of feedback on all work. Several weeks prior to the defense, students should consult closely with their dissertation director and committee members about whether the dissertation as a whole is in a final and defensible stage. A project is ready for defense when it is coherent, cohesive, well researched, engages in sophisticated analysis (in its entirety or in the critical introduction of creative dissertations), and makes a significant contribution to the field. In other words, it passes each of the categories laid out in the Dissertation Rubric.

If the dissertation has not clearly reached a final stage, the student and dissertation director are advised to reschedule the defense.

Prior Publication of the Doctoral Dissertation

Portions of the material written by the doctoral candidate may appear in article form before completion of the dissertation. Prior publication does not ensure the acceptance of the dissertation by the dissertation committee. Final acceptance of the dissertation is subject to the approval of the dissertation committee. Previously published material by other authors included in the dissertation must be properly documented.

Each student beyond the master’s degree should confer regularly with the Graduate Director regarding their progress toward the doctoral examination and the doctorate.

Doctoral students may take graduate courses outside the English Department if, in their opinion and that of the Graduate Director, acting on behalf of the Graduate Committee, those courses will be of value to them. Their taking such courses will not, of course, absolve them of the responsibility for meeting all the normal departmental and Graduate School requirements.

Doctoral students in creative writing are strongly encouraged to take formal literature classes in addition to forms classes. Formal literature classes, by providing training in literary analysis, theory, and/or literary history, will help to prepare students for doctoral exams (and future teaching at the college level).

FALL SEMESTER            

• GTAs take 2 courses (801 + one), teach 2 courses; GRAs take 3 courses.
• Visit assigned advisor once a month to update on progress & perceptions. 1st-year advisors can assist with selecting classes for the Spring semester, solidifying and articulating a field of specialization, advice about publishing, conferences, professionalization issues, etc.

SPRING SEMESTER

• GTAs take 2 courses (780/800/880 + one), teach 2 courses. GTAs also take ENGL 802 for 1 credit hour. GRAs take 3 courses.
• Visit assigned advisor or DGS once during the semester; discuss best advisor choices for Year 2.

SUMMER SEMESTER

• Enroll in Summer Institute if topic and/or methodology matches interests.
• Consider conferences suited to your field and schedule; choose a local one for attendance in Year 2 and draft an Abstract for a conference paper (preferably with ideas/materials/ writing drawn from a seminar paper).  Even if abstract is not accepted, you can attend the conference without the pressure of presenting.
• Attend at least one conference to familiarize yourself with procedure, network with other grad students and scholars in your field, AND/OR present a paper.

FALL SEMESTER

• Take 2 courses, teach 2 courses.
• Visit advisor in person at least once during the semester.

WINTER BREAK

• Begin revising one of your seminar papers/independent study projects/creative pieces for submission to a journal; research the journals most suited to placement of your piece.
• Begin thinking about fields and texts for comprehensive examinations.
• Choose an advisor to supervise you through the doctoral examination process.
• Visit assigned 1st-year advisor in person at least once during the semester (at least to formally request doctoral exam supervision OR to notify that you are changing advisors).
• Summer teaching, if eligible.
• Continue revising paper/creative writing for submission to a journal.
• Begin reading for comprehensive exams.
• Attend one conference and present a paper. Apply for one-time funding for out-of-state travel  from Graduate Studies .
• Teach 2 courses; take 997 (exam prep).
• Finalize comps list by end of September; begin drafting rationales.
• Circulate the draft of your article/creative piece to your advisor, other faculty in the field, and/or advanced grad students in the field for suggestions.
• Revise article/creative piece with feedback from readers.
• Teach 2 courses; take 997 or 999 (dissertation hours). Enroll in 999 if you plan to take your comps this semester, even if you don’t take them until the last day of classes.
• Take comps sometime between January and May.
• Summer teaching, if available.
• Submit article/creative work for publication.
• Continuous enrollment after completing doctoral exam (full policy on p. 20)
• Research deadlines for grant applications—note deadlines come early in the year.
• Attend one conference and present a paper.
• Teach 2 courses, take 999.
• Compose dissertation proposal by November.
• Schedule Review of Dissertation Proposal (RDP—formerly DPR).
• Apply for at least one grant or fellowship, such as a departmental-level GRAship or dissertation fellowship. (Winning a full-year, non-teaching fellowship can cut down your years-to-degree to 5 ½, or even 5 years.)
• Conduct research for and draft at least 1 dissertation chapter.
• Conduct research and complete a draft of at least 1 dissertation chapter.
• Revise & resubmit journal article, if necessary.
• Attend 1st round of job market meetings with Job Placement Advisor (JPA) to start drafting materials and thinking about the process.
• Research and complete a draft of at least 1 dissertation chapter, if teaching (1-2 chapters if not).
• Visit dissertation chair  and  committee members in person at least once during the semester.
• Research and complete a draft of at least 1 dissertation chapter (1-2 chapters if not teaching).
• Apply for a departmental grant or fellowship, or, if already held, try applying for one from outside the department, such as those offered by KU’s Hall Center for the Humanities or the Office of Graduate Studies. For  a monthly list of funding opportunities , visit the Graduate Studies website.
• Research and complete a draft of at least 1 dissertation chapter.
• Attend job market meetings with JPA in earnest.
• Apply for external grants, research fellowships, postdoctoral positions with fall deadlines (previous fellowship applications, your dissertation proposal, and subsequent writing should provide a frame so that much of the application can be filled out with the “cut & paste” function).
• Research and complete a draft of at least 1 dissertation chapter (1-2 if not teaching).
• Visit dissertation chair and committee members in person at least once during the semester.
• Polish dissertation chapters.
• Apply for grants and fellowships with spring deadlines.
• Defend dissertation.

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

King's College London

Creative writing research phd.

Key information

The PhD in Creative Writing at King’s is a practice-led course, incorporating taught elements and aspects of professional development. It is designed to cater for talented, committed writers who are looking to complete a book-length creative work for publication and sustain a long-term career in writing.

Key Benefits

Our unique programme offers students:

• a varied, structured framework for the development of their creative work, with regular feedback from experienced author-lecturers in the department through supervision and workshops
• purposeful engagement with professionals from the publishing and performance industries throughout the course, building potential routes to publication
• valuable teaching experience in creative writing at HE-level through our Graduate Teaching Assistantship scheme
• practical experience in public engagement, through curating and chairing public literary events at King’s
• a community of fellow writers and collaborative projects

English Department

We have over 100 doctoral students from all over the world working on a wide range of projects. Together with our community of postdoctoral fellows, our early career researchers both organise and participate in our thriving seminar and conference culture.

The English department is home to award-winning novelists, poets, essayists, biographers, non-fiction authors, and literary critics, who supervise creative projects at doctoral level within their specialisms.

Works by our staff have won or been shortlisted for a number of literary accolades, including: the T.S. Eliot Prize, the Forward Prize, the Man Booker Prize, the Sunday Times Young Writer of the Year, the Costa First Novel Award, the Costa Poetry Award, the Somerset Maugham Award, the Commonwealth Book Prize, the Biographers’ Club / Slightly Foxed First Biography Prize, the U.S. National Book Critics Circle Award, the CWA Gold Dagger Award, the European Union Prize for Literature, the RSL Encore Award, the Los Angeles Times Book Award, the E.M. Forster Award from the American Academy of Letters, le Prix du Roman Fnac, le Prix du Roman Etranger, the Kiriyama Prize, the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and the OCM Bocas Prize for Caribbean Literature. Many of the creative writing staff are Fellows of the Royal Society of Literature.

Their most recent publications are:

Benjamin Wood

The Young Accomplice (Penguin Viking, 2022) – fiction

A Station on the Path to Somewhere Better (Scribner, 2018) – fiction

Edmund Gordon

The Invention of Angela Carter (Chatto & Windus, 2016) – creative non-fiction

Loop of Jade (Chatto & Windus, 2015) – poetry

Anthony Joseph

Sonnets for Albert (Bloomsbury Publishing, 2022) – poetry

The Frequency of Magic (Peepal Tree Press, 2019) – fiction

Lara Feigel

The Group (John Murray Press, 2020) – fiction

Free Woman: Life, Liberation and Doris Lessing (Bloomsbury, 2018) – creative non-fiction

Homing: On Pigeons, Dwellings, and Why We Return (John Murray Press, 2019) – creative non-fiction

Daughters of the Labyrinth (Corsair, 2021) – fiction

Beethoven Variations: Poems on a Life (Chatto & Windus, 2020) – poetry

Emerald (Chatto & Windus, 2018) – poetry

Andrew O'Hagan

Mayflies (Faber & Faber, 2020) – fiction

The Secret Life: Three True Stories (Faber & Faber, 2017) – creative non-fiction

*may vary according to research leave and availability.

King's Alumni

The list of King’s alumni not only features many acclaimed contemporary authors—Michael Morpurgo, Alain de Botton, Hanif Kureishi, Marina Lewycka, Susan Hill, Lawrence Norfolk, Ross Raisin, Alexander Masters, Anita Brookner, and Helen Cresswell—it also includes major figures in literature, such as Maureen Duffy, Arthur C Clarke, Thomas Hardy, Christopher Isherwood, BS Johnson, John Keats, W. Somerset Maugham, and Virginia Woolf.

Course Detail

Our postgraduate writing students are given a supportive environment in which to enhance their technique, to explore the depths of their ideas, to sustain their creative motivation, and to prepare them for the demands of the writer’s life beyond the College.

At King's we know that writing well requires self-discipline and an ability to work productively in isolation; but we also appreciate that postgraduate writers thrive when they are part of a community of fellow authors, an environment of constructive criticism and shared endeavour.

That is why we offer our PhD students the guidance of knowledgeable and experienced practitioners. They will have frequent opportunities to interact and collaborate with peers and forge lasting connections within London’s writing industry.

Students will be expected to attend the quarterly Thesis Workshop, and also to take an active part in curating literary events at King’s, including the Poetry And… quarterly reading series. They will be invited to apply for positions teaching undergraduate creative writing modules as part of the Department’s Graduate Teaching Assistantship (GTA) scheme.

After three years (full-time) or six years (part-time), students are expected to submit either:

• a novel or short story collection
• a poetry collection
• a full-length work of creative non-fiction

In addition, they are also required to submit an essay (up to 15,000 words) that examines their practical approach to the conception, development, and revision of their project, and which explores how their creative work was informed by research (archival, book-based, or experiential).

• How to apply
• Fees or Funding

Many of our incoming students apply for AHRC funding via the London Arts and Humanities Partnership. Please see their website ( www.lahp.ac.uk ) for more detail of deadlines, application procedure and awards available. Also the ‘Student Funding’ section of the Prospectus will give you more information on other scholarships available from King’s.

UK Tuition Fees 2023/24

Full time tuition fees:

£5,820 per year (MPhil/PhD, Creative Writing)

Part time tuition fees:

£2,910 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2023/24

£22,900 per year (MPhil/PhD, Creative Writing)

£11,450 per year (MPhil/PhD, Creative Writing)

UK Tuition Fees 2024/25

£6,168 per year (MPhil/PhD, Creative Writing)

£3,084 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2024/25

£24,786 per year (MPhil/PhD, Creative Writing)

£12,393 per year (MPhil/PhD, Creative Writing)

These tuition fees may be subject to additional increases in subsequent years of study, in line with King’s terms and conditions.

• Study environment

Base campus

Strand Campus

Located on the north bank of the River Thames, the Strand Campus houses King's College London's arts and sciences faculties.

PhD in Creative Writing students are taught through one-to-one sessions with an appointed supervisor in their chosen specialism (fiction, creative non-fiction, or poetry) as well as through quarterly thesis workshops. They are also appointed a second supervisor whose role is to offer an additional perspective on the work being produced.

We place great emphasis on pastoral care and are a friendly and welcoming department in the heart of London. Our home in the Virginia Woolf Building offers many spaces for postgraduate students to work and socialise. Studying in London means students have access to a huge range of libraries from the Maughan Library at King’s to the Senate House Library at the University of London and the British Library.

Our PhD Creative Writing students are taught exclusively by practicing, published writers of international reputation. These include:

Benjamin Wood (Senior Lecturer in Creative Writing)

Supervises projects in fiction.

Edmund Gordon (Senior Lecturer in Creative Writing)

Supervises projects in fiction and creative non-fiction.

Sarah Howe (Lecturer in Poetry)

Supervises projects in poetry.

Anthony Joseph (Lecturer in Creative Writing)

Supervises projects in poetry and fiction.

Jon Day (Senior Lecturer in English)

Supervises projects in creative non-fiction and fiction

Lara Feigel (Professor of Modern Literature)

Supervises projects in creative non-fiction and fiction.

Ruth Padel (Professor Emerita of Poetry)

Andrew O’Hagan (Visiting Professor)

*Teaching staff may vary according to research leave and availability.

Our programme also incorporates the following taught components:

Thesis Workshop

A termly writing seminar for the discussion and appraisal of works-in-progress. These are taught on a rotational basis by all members of the creative writing staff, so that students get the benefit of hearing a range of voices and opinions on their work throughout the course.

The Writing Life

A suite of exclusive guest talks and masterclasses from leading authors, publishers, and editors, in which students receive guidance from people working at the top level of the writing industry and learn about the various demands of maintaining a career as a writer.

Recent speakers have included Amit Chaudhuri, Chris Power, Rebecca Watson, Mendez, Frances Leviston, Joanna Biggs, Joe Dunthorne, Francesca Wade, Kishani Widyaratna, Jacques Testard and Leo Robson.

Other elements of professional development are included in the degree:

Agents-in-Residence

Candidates in fiction or creative-nonfiction will meet and discuss their work in one-to-one sessions with invited literary agents, who are appointed to yearly residencies. These sessions offer writers a different overview of the development of their project: not solely from the standpoint of authorial technique, but with a view towards the positioning of their writing within a competitive and selective industry. Poetry candidates will meet and discuss their work with invited editors from internationally recognised poetry journals and presses.

Undergraduate Teaching

Through our Graduate Teaching Assistant (GTA) training scheme, our PhD students can apply to lead undergraduate creative writing workshops in fiction, creative non-fiction, and/or poetry, enabling them to acquire valuable HE-level teaching experience that will benefit them long after graduation.

Reading Series

Our students are required to participate in the curation of literary events at King’s. They are also responsible for curating Poetry And… , a quarterly reading in which leading poets illuminate the powerful connections between poetry and other disciplines. Students will develop skills in public engagement by chairing discussions and may also perform excerpts of their own writing.

Postgraduate Training

There is a range of induction events and training provided for students by the Centre for Doctoral Studies, the Faculty of Arts and Humanities and the English Department. A significant number of our students are AHRC-funded through the London Arts and Humanities Partnership (LAHP) which also provides doctoral training to all students. All students take the ‘Doctoral Seminar’ in their first year. This is a series of informal, staff-led seminars on research skills in which students can share and gain feedback on their own work. We run a series of ‘Skills Lunches’, which are informal lunch meetings with staff, covering specific topics, including Upgrading, Attending Conferences, Applying for Funding and Post-Doctoral Awards, etc. Topics for these sessions are generally suggested by the students themselves, so are particularly responsive to student needs. We have an Early Career Staff Mentor who runs more formal workshops of varying kinds, particularly connected to career development and the professions.

Through our Graduate Teaching Assistantship Scheme, doctoral students can apply to teach in the department (usually in their second year of study) and are trained and supported as they do so.

• Entry requirements

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• Preparing my thesis
• Thesis with creative works

With approval from your advisory committee your thesis may include a creative work or non-traditional research output (NTRO) component alongside a dissertation to fulfil the requirements of the degree. This is more common in some degrees and disciplines than others.

Durable record of all components of thesis

A durable record refers to a permanent file or archive that ensures the preservation and accessibility of all components of the thesis. This record typically includes any multimedia material (streaming or downloading), content on weblinks, or data sets that are integral to the thesis.

Both the dissertation and creative work must be passed, and a final version including a durable record of all components of your thesis must be submitted to the University’s digital repository, in order for you to be awarded the degree.

All theses must be presented as a unified whole and address a significant research question.

The creative work may take a variety of forms including:

• a performance,
• an exhibition,
• writing (poetry, fiction, script or other written literary forms),
• musical composition,
• e-portfolio or website,
• multimedia, or
• other new media technologies and modes of presentation.

If the creative work is not in writing it must be comprehensively documented. The work itself, or the documentation must be submitted with the dissertation through the Thesis Examination System (TES).

The dissertation and documentation of the work  (where needed) must adhere to the Preparation of Graduate Research Theses Rules .  You must include a description of the form and presentation of the creative work in the Abstract and in your Preface, note the relative weighting of the creative work and dissertation.

The combined volume of work of the creative works and dissertation for a doctoral thesis would be equivalent to approximately 80,000 -100,000 words.  For a masters degree, the combined volume of work would be equivalent to approximately 40,000-50,000 words.

Any thesis that exceeds the maximum limit requires permission to proceed to examination, which must be sought via the  Examinations Office prior to submission.

Relationship between the Dissertation and Creative Work

The dissertation and the creative work should be considered as complementary, mutually reinforcing parts of a single project.  You may argue, however, that the relationship between the two parts contributes to the originality and creativity of the whole.

The dissertation is required to do more than simply describe the creative work and how it was undertaken.

The dissertation must:

• present the research questions address, and
• contextualise the research as new knowledge within the field of its production.

The dissertation may:

• include information on the materials and methodology used,
• elucidate the creative work, and
• place the creative work in an artistic, intellectual, or cultural context.

The weighting given to the components of the thesis describes the proportion of the research which is demonstrated through the creative component/s and the proportion which is demonstrated in the written dissertation. The relative weighting will inform the examiners’ assessment of the work so must be clearly explained in your Preface.  When registering your intention to submit via the Thesis Examination System (TES), include the weighting in your 80-word summary.

The weighting of the dissertation and creative work, and the expected word length of the dissertation should be agreed at Confirmation. Check the Handbook description for your course to see if the weighting is specified for the course. If not, the minimum weighting for the dissertation that can be agreed at Confirmation is 25%.

Examination

When submitting your thesis through TES, you are required to include any creative components, such as multimedia files.  If your thesis file consists of multiple files, upload the main file as part of the thesis submission process and contact the Examinations Office to arrange a secure University SharePoint link to upload the additional files. Then add the shared link to TES as part of your submission.

Where the creative work includes a performance or exhibition of visual art works, the examiners may be required to travel to the site of the performance or exhibition. Your Chair of Examiners will make the necessary arrangements for your examiners to attend the viewing of the performance/exhibition. In this situation, if the dissertation is not submitted at or around the same time, you must provide an extended abstract of 1000-3000 words to your Chair of Examiners two weeks prior to the viewing. You must then submit your dissertation by logging into the Thesis Examination System (TES) no more than six calendar months after the performance/exhibition. The role of Chair of Examiners is normally undertaken by the head of department/school or nominee. To find out your Chair of Examiners, contact your supervisor or the Examinations Office .

If one or more components of your thesis is a live website or content hosted online, there should be no alterations made to the website or online content while the examination is in progress.

As graduate researchers submitting creative works in the form of a performance, an exhibition, an e-portfolio, or a website have an obligation to avoid identifying their examiners, the following  Creative Works: Examiner Confidentiality Declaration form should be completed and submitted along with your thesis. Once you have submitted your thesis via TES, return the signed confidentiality declaration to the Examinations Office .

Additional criteria are specified for examiners who are examining creative works.

Final archival version of your thesis

To meet the University's digital repository (Minerva Access) requirements, once examiner comments and amendments have been incorporated, you will need to deposit a durable record of all components of your thesis. Methods of capturing and providing this durable representation of your creative work component vary widely depending on the nature and presentation of your creative component.  It is important for you, in discussion with your supervisor, to decide and capture your desired best quality representation.

When submitting multiple files, you should upload them individually. You will be able to indicate the access for each file in Minerva access.  For large files, contact the Examinations Office to arrange a secure University SharePoint link or, alternatively, upload them to a cloud storage platform and email the shared link to the Examinations Office.

If your thesis included a website, you must provide a durable copy of the website as it was during the examination with any amendments requested by the examiners.  You may also provide a link to the live website and have readers directed to that while it remains available,  in addition to the archived copy.

You can find further information about requirements for deposit, as well as options and implications of choosing some options at My thesis in the library and  Depositing multiple files for your final thesis record . You can request technical assistance for submitting the thesis to  Minerva Access .

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Dissertation Structure & Layout 101: How to structure your dissertation, thesis or research project.

By: Derek Jansen (MBA) Reviewed By: David Phair (PhD) | July 2019

So, you’ve got a decent understanding of what a dissertation is , you’ve chosen your topic and hopefully you’ve received approval for your research proposal . Awesome! Now its time to start the actual dissertation or thesis writing journey.

To craft a high-quality document, the very first thing you need to understand is dissertation structure . In this post, we’ll walk you through the generic dissertation structure and layout, step by step. We’ll start with the big picture, and then zoom into each chapter to briefly discuss the core contents. If you’re just starting out on your research journey, you should start with this post, which covers the big-picture process of how to write a dissertation or thesis .

*The Caveat *

In this post, we’ll be discussing a traditional dissertation/thesis structure and layout, which is generally used for social science research across universities, whether in the US, UK, Europe or Australia. However, some universities may have small variations on this structure (extra chapters, merged chapters, slightly different ordering, etc).

So, always check with your university if they have a prescribed structure or layout that they expect you to work with. If not, it’s safe to assume the structure we’ll discuss here is suitable. And even if they do have a prescribed structure, you’ll still get value from this post as we’ll explain the core contents of each section.  

Overview: S tructuring a dissertation or thesis

• Acknowledgements page
• Abstract (or executive summary)
• Table of contents , list of figures and tables
• Chapter 1: Introduction
• Chapter 2: Literature review
• Chapter 3: Methodology
• Chapter 4: Results
• Chapter 5: Discussion
• Chapter 6: Conclusion
• Reference list

As I mentioned, some universities will have slight variations on this structure. For example, they want an additional “personal reflection chapter”, or they might prefer the results and discussion chapter to be merged into one. Regardless, the overarching flow will always be the same, as this flow reflects the research process , which we discussed here – i.e.:

• The introduction chapter presents the core research question and aims .
• The literature review chapter assesses what the current research says about this question.
• The methodology, results and discussion chapters go about undertaking new research about this question.
• The conclusion chapter (attempts to) answer the core research question .

In other words, the dissertation structure and layout reflect the research process of asking a well-defined question(s), investigating, and then answering the question – see below.

To restate that – the structure and layout of a dissertation reflect the flow of the overall research process . This is essential to understand, as each chapter will make a lot more sense if you “get” this concept. If you’re not familiar with the research process, read this post before going further.

Right. Now that we’ve covered the big picture, let’s dive a little deeper into the details of each section and chapter. Oh and by the way, you can also grab our free dissertation/thesis template here to help speed things up.

The title page of your dissertation is the very first impression the marker will get of your work, so it pays to invest some time thinking about your title. But what makes for a good title? A strong title needs to be 3 things:

• Succinct (not overly lengthy or verbose)
• Specific (not vague or ambiguous)
• Representative of the research you’re undertaking (clearly linked to your research questions)

Typically, a good title includes mention of the following:

• The broader area of the research (i.e. the overarching topic)
• The specific focus of your research (i.e. your specific context)
• Indication of research design (e.g. quantitative , qualitative , or  mixed methods ).

For example:

A quantitative investigation [research design] into the antecedents of organisational trust [broader area] in the UK retail forex trading market [specific context/area of focus].

Again, some universities may have specific requirements regarding the format and structure of the title, so it’s worth double-checking expectations with your institution (if there’s no mention in the brief or study material).

Acknowledgements

This page provides you with an opportunity to say thank you to those who helped you along your research journey. Generally, it’s optional (and won’t count towards your marks), but it is academic best practice to include this.

So, who do you say thanks to? Well, there’s no prescribed requirements, but it’s common to mention the following people:

• Your dissertation supervisor or committee.
• Any professors, lecturers or academics that helped you understand the topic or methodologies.
• Any tutors, mentors or advisors.
• Your family and friends, especially spouse (for adult learners studying part-time).

There’s no need for lengthy rambling. Just state who you’re thankful to and for what (e.g. thank you to my supervisor, John Doe, for his endless patience and attentiveness) – be sincere. In terms of length, you should keep this to a page or less.

Abstract or executive summary

The dissertation abstract (or executive summary for some degrees) serves to provide the first-time reader (and marker or moderator) with a big-picture view of your research project. It should give them an understanding of the key insights and findings from the research, without them needing to read the rest of the report – in other words, it should be able to stand alone .

For it to stand alone, your abstract should cover the following key points (at a minimum):

• Your research questions and aims – what key question(s) did your research aim to answer?
• Your methodology – how did you go about investigating the topic and finding answers to your research question(s)?
• Your findings – following your own research, what did do you discover?
• Your conclusions – based on your findings, what conclusions did you draw? What answers did you find to your research question(s)?

So, in much the same way the dissertation structure mimics the research process, your abstract or executive summary should reflect the research process, from the initial stage of asking the original question to the final stage of answering that question.

In practical terms, it’s a good idea to write this section up last , once all your core chapters are complete. Otherwise, you’ll end up writing and rewriting this section multiple times (just wasting time). For a step by step guide on how to write a strong executive summary, check out this post .

Need a helping hand?

Table of contents

This section is straightforward. You’ll typically present your table of contents (TOC) first, followed by the two lists – figures and tables. I recommend that you use Microsoft Word’s automatic table of contents generator to generate your TOC. If you’re not familiar with this functionality, the video below explains it simply:

If you find that your table of contents is overly lengthy, consider removing one level of depth. Oftentimes, this can be done without detracting from the usefulness of the TOC.

Right, now that the “admin” sections are out of the way, its time to move on to your core chapters. These chapters are the heart of your dissertation and are where you’ll earn the marks. The first chapter is the introduction chapter – as you would expect, this is the time to introduce your research…

It’s important to understand that even though you’ve provided an overview of your research in your abstract, your introduction needs to be written as if the reader has not read that (remember, the abstract is essentially a standalone document). So, your introduction chapter needs to start from the very beginning, and should address the following questions:

• What will you be investigating (in plain-language, big picture-level)?
• Why is that worth investigating? How is it important to academia or business? How is it sufficiently original?
• What are your research aims and research question(s)? Note that the research questions can sometimes be presented at the end of the literature review (next chapter).
• What is the scope of your study? In other words, what will and won’t you cover ?
• How will you approach your research? In other words, what methodology will you adopt?
• How will you structure your dissertation? What are the core chapters and what will you do in each of them?

These are just the bare basic requirements for your intro chapter. Some universities will want additional bells and whistles in the intro chapter, so be sure to carefully read your brief or consult your research supervisor.

If done right, your introduction chapter will set a clear direction for the rest of your dissertation. Specifically, it will make it clear to the reader (and marker) exactly what you’ll be investigating, why that’s important, and how you’ll be going about the investigation. Conversely, if your introduction chapter leaves a first-time reader wondering what exactly you’ll be researching, you’ve still got some work to do.

Now that you’ve set a clear direction with your introduction chapter, the next step is the literature review . In this section, you will analyse the existing research (typically academic journal articles and high-quality industry publications), with a view to understanding the following questions:

• What does the literature currently say about the topic you’re investigating?
• Is the literature lacking or well established? Is it divided or in disagreement?
• How does your research fit into the bigger picture?
• How does your research contribute something original?
• How does the methodology of previous studies help you develop your own?

Depending on the nature of your study, you may also present a conceptual framework towards the end of your literature review, which you will then test in your actual research.

Again, some universities will want you to focus on some of these areas more than others, some will have additional or fewer requirements, and so on. Therefore, as always, its important to review your brief and/or discuss with your supervisor, so that you know exactly what’s expected of your literature review chapter.

Now that you’ve investigated the current state of knowledge in your literature review chapter and are familiar with the existing key theories, models and frameworks, its time to design your own research. Enter the methodology chapter – the most “science-ey” of the chapters…

In this chapter, you need to address two critical questions:

• Exactly HOW will you carry out your research (i.e. what is your intended research design)?
• Exactly WHY have you chosen to do things this way (i.e. how do you justify your design)?

Remember, the dissertation part of your degree is first and foremost about developing and demonstrating research skills . Therefore, the markers want to see that you know which methods to use, can clearly articulate why you’ve chosen then, and know how to deploy them effectively.

Importantly, this chapter requires detail – don’t hold back on the specifics. State exactly what you’ll be doing, with who, when, for how long, etc. Moreover, for every design choice you make, make sure you justify it.

In practice, you will likely end up coming back to this chapter once you’ve undertaken all your data collection and analysis, and revise it based on changes you made during the analysis phase. This is perfectly fine. Its natural for you to add an additional analysis technique, scrap an old one, etc based on where your data lead you. Of course, I’m talking about small changes here – not a fundamental switch from qualitative to quantitative, which will likely send your supervisor in a spin!

You’ve now collected your data and undertaken your analysis, whether qualitative, quantitative or mixed methods. In this chapter, you’ll present the raw results of your analysis . For example, in the case of a quant study, you’ll present the demographic data, descriptive statistics, inferential statistics , etc.

Typically, Chapter 4 is simply a presentation and description of the data, not a discussion of the meaning of the data. In other words, it’s descriptive, rather than analytical – the meaning is discussed in Chapter 5. However, some universities will want you to combine chapters 4 and 5, so that you both present and interpret the meaning of the data at the same time. Check with your institution what their preference is.

Now that you’ve presented the data analysis results, its time to interpret and analyse them. In other words, its time to discuss what they mean, especially in relation to your research question(s).

What you discuss here will depend largely on your chosen methodology. For example, if you’ve gone the quantitative route, you might discuss the relationships between variables . If you’ve gone the qualitative route, you might discuss key themes and the meanings thereof. It all depends on what your research design choices were.

Most importantly, you need to discuss your results in relation to your research questions and aims, as well as the existing literature. What do the results tell you about your research questions? Are they aligned with the existing research or at odds? If so, why might this be? Dig deep into your findings and explain what the findings suggest, in plain English.

The final chapter – you’ve made it! Now that you’ve discussed your interpretation of the results, its time to bring it back to the beginning with the conclusion chapter . In other words, its time to (attempt to) answer your original research question s (from way back in chapter 1). Clearly state what your conclusions are in terms of your research questions. This might feel a bit repetitive, as you would have touched on this in the previous chapter, but its important to bring the discussion full circle and explicitly state your answer(s) to the research question(s).

Next, you’ll typically discuss the implications of your findings . In other words, you’ve answered your research questions – but what does this mean for the real world (or even for academia)? What should now be done differently, given the new insight you’ve generated?

Lastly, you should discuss the limitations of your research, as well as what this means for future research in the area. No study is perfect, especially not a Masters-level. Discuss the shortcomings of your research. Perhaps your methodology was limited, perhaps your sample size was small or not representative, etc, etc. Don’t be afraid to critique your work – the markers want to see that you can identify the limitations of your work. This is a strength, not a weakness. Be brutal!

This marks the end of your core chapters – woohoo! From here on out, it’s pretty smooth sailing.

The reference list is straightforward. It should contain a list of all resources cited in your dissertation, in the required format, e.g. APA , Harvard, etc.

It’s essential that you use reference management software for your dissertation. Do NOT try handle your referencing manually – its far too error prone. On a reference list of multiple pages, you’re going to make mistake. To this end, I suggest considering either Mendeley or Zotero. Both are free and provide a very straightforward interface to ensure that your referencing is 100% on point. I’ve included a simple how-to video for the Mendeley software (my personal favourite) below:

Some universities may ask you to include a bibliography, as opposed to a reference list. These two things are not the same . A bibliography is similar to a reference list, except that it also includes resources which informed your thinking but were not directly cited in your dissertation. So, double-check your brief and make sure you use the right one.

The very last piece of the puzzle is the appendix or set of appendices. This is where you’ll include any supporting data and evidence. Importantly, supporting is the keyword here.

Your appendices should provide additional “nice to know”, depth-adding information, which is not critical to the core analysis. Appendices should not be used as a way to cut down word count (see this post which covers how to reduce word count ). In other words, don’t place content that is critical to the core analysis here, just to save word count. You will not earn marks on any content in the appendices, so don’t try to play the system!

Time to recap…

And there you have it – the traditional dissertation structure and layout, from A-Z. To recap, the core structure for a dissertation or thesis is (typically) as follows:

• Acknowledgments page

Most importantly, the core chapters should reflect the research process (asking, investigating and answering your research question). Moreover, the research question(s) should form the golden thread throughout your dissertation structure. Everything should revolve around the research questions, and as you’ve seen, they should form both the start point (i.e. introduction chapter) and the endpoint (i.e. conclusion chapter).

I hope this post has provided you with clarity about the traditional dissertation/thesis structure and layout. If you have any questions or comments, please leave a comment below, or feel free to get in touch with us. Also, be sure to check out the rest of the  Grad Coach Blog .

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This post was based on one of our popular Research Bootcamps . If you're working on a research project, you'll definitely want to check this out ...

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36 Comments

many thanks i found it very useful

Glad to hear that, Arun. Good luck writing your dissertation.

Such clear practical logical advice. I very much needed to read this to keep me focused in stead of fretting.. Perfect now ready to start my research!

what about scientific fields like computer or engineering thesis what is the difference in the structure? thank you very much

Thanks so much this helped me a lot!

Very helpful and accessible. What I like most is how practical the advice is along with helpful tools/ links.

Thanks Ade!

Thank you so much sir.. It was really helpful..

You’re welcome!

Hi! How many words maximum should contain the abstract?

Thank you so much 😊 Find this at the right moment

You’re most welcome. Good luck with your dissertation.

best ever benefit i got on right time thank you

Many times Clarity and vision of destination of dissertation is what makes the difference between good ,average and great researchers the same way a great automobile driver is fast with clarity of address and Clear weather conditions .

I guess Great researcher = great ideas + knowledge + great and fast data collection and modeling + great writing + high clarity on all these

You have given immense clarity from start to end.

Morning. Where will I write the definitions of what I’m referring to in my report?

Thank you so much Derek, I was almost lost! Thanks a tonnnn! Have a great day!

Thanks ! so concise and valuable

This was very helpful. Clear and concise. I know exactly what to do now.

Thank you for allowing me to go through briefly. I hope to find time to continue.

Really useful to me. Thanks a thousand times

Very interesting! It will definitely set me and many more for success. highly recommended.

Thank you soo much sir, for the opportunity to express my skills

Usefull, thanks a lot. Really clear

Very nice and easy to understand. Thank you .

That was incredibly useful. Thanks Grad Coach Crew!

My stress level just dropped at least 15 points after watching this. Just starting my thesis for my grad program and I feel a lot more capable now! Thanks for such a clear and helpful video, Emma and the GradCoach team!

Do we need to mention the number of words the dissertation contains in the main document?

It depends on your university’s requirements, so it would be best to check with them 🙂

Such a helpful post to help me get started with structuring my masters dissertation, thank you!

Great video; I appreciate that helpful information

It is so necessary or avital course

This blog is very informative for my research. Thank you

Doctoral students are required to fill out the National Research Council’s Survey of Earned Doctorates

wow this is an amazing gain in my life

This is so good

How can i arrange my specific objectives in my dissertation?

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How to Write a Dissertation Proposal | A Step-by-Step Guide

Published on 14 February 2020 by Jack Caulfield . Revised on 11 November 2022.

A dissertation proposal describes the research you want to do: what it’s about, how you’ll conduct it, and why it’s worthwhile. You will probably have to write a proposal before starting your dissertation as an undergraduate or postgraduate student.

A dissertation proposal should generally include:

• An introduction to your topic and aims
• A literature review  of the current state of knowledge
• An outline of your proposed methodology
• A discussion of the possible implications of the research
• A bibliography  of relevant sources

Dissertation proposals vary a lot in terms of length and structure, so make sure to follow any guidelines given to you by your institution, and check with your supervisor when you’re unsure.

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Table of contents

Step 1: coming up with an idea, step 2: presenting your idea in the introduction, step 3: exploring related research in the literature review, step 4: describing your methodology, step 5: outlining the potential implications of your research, step 6: creating a reference list or bibliography.

Before writing your proposal, it’s important to come up with a strong idea for your dissertation.

Find an area of your field that interests you and do some preliminary reading in that area. What are the key concerns of other researchers? What do they suggest as areas for further research, and what strikes you personally as an interesting gap in the field?

Once you have an idea, consider how to narrow it down and the best way to frame it. Don’t be too ambitious or too vague – a dissertation topic needs to be specific enough to be feasible. Move from a broad field of interest to a specific niche:

• Russian literature 19th century Russian literature The novels of Tolstoy and Dostoevsky
• Social media Mental health effects of social media Influence of social media on young adults suffering from anxiety

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Like most academic texts, a dissertation proposal begins with an introduction . This is where you introduce the topic of your research, provide some background, and most importantly, present your aim , objectives and research question(s) .

Try to dive straight into your chosen topic: What’s at stake in your research? Why is it interesting? Don’t spend too long on generalisations or grand statements:

• Social media is the most important technological trend of the 21st century. It has changed the world and influences our lives every day.
• Psychologists generally agree that the ubiquity of social media in the lives of young adults today has a profound impact on their mental health. However, the exact nature of this impact needs further investigation.

Once your area of research is clear, you can present more background and context. What does the reader need to know to understand your proposed questions? What’s the current state of research on this topic, and what will your dissertation contribute to the field?

If you’re including a literature review, you don’t need to go into too much detail at this point, but give the reader a general sense of the debates that you’re intervening in.

This leads you into the most important part of the introduction: your aim, objectives and research question(s) . These should be clearly identifiable and stand out from the text – for example, you could present them using bullet points or bold font.

Make sure that your research questions are specific and workable – something you can reasonably answer within the scope of your dissertation. Avoid being too broad or having too many different questions. Remember that your goal in a dissertation proposal is to convince the reader that your research is valuable and feasible:

• Does social media harm mental health?
• What is the impact of daily social media use on 18– to 25–year–olds suffering from general anxiety disorder?

Now that your topic is clear, it’s time to explore existing research covering similar ideas. This is important because it shows you what is missing from other research in the field and ensures that you’re not asking a question someone else has already answered.

You’ve probably already done some preliminary reading, but now that your topic is more clearly defined, you need to thoroughly analyse and evaluate the most relevant sources in your literature review .

Here you should summarise the findings of other researchers and comment on gaps and problems in their studies. There may be a lot of research to cover, so make effective use of paraphrasing to write concisely:

• Smith and Prakash state that ‘our results indicate a 25% decrease in the incidence of mechanical failure after the new formula was applied’.
• Smith and Prakash’s formula reduced mechanical failures by 25%.

The point is to identify findings and theories that will influence your own research, but also to highlight gaps and limitations in previous research which your dissertation can address:

• Subsequent research has failed to replicate this result, however, suggesting a flaw in Smith and Prakash’s methods. It is likely that the failure resulted from…

Next, you’ll describe your proposed methodology : the specific things you hope to do, the structure of your research and the methods that you will use to gather and analyse data.

You should get quite specific in this section – you need to convince your supervisor that you’ve thought through your approach to the research and can realistically carry it out. This section will look quite different, and vary in length, depending on your field of study.

You may be engaged in more empirical research, focusing on data collection and discovering new information, or more theoretical research, attempting to develop a new conceptual model or add nuance to an existing one.

Dissertation research often involves both, but the content of your methodology section will vary according to how important each approach is to your dissertation.

Empirical research

Empirical research involves collecting new data and analysing it in order to answer your research questions. It can be quantitative (focused on numbers), qualitative (focused on words and meanings), or a combination of both.

With empirical research, it’s important to describe in detail how you plan to collect your data:

• Will you use surveys ? A lab experiment ? Interviews?
• What variables will you measure?
• How will you select a representative sample ?
• If other people will participate in your research, what measures will you take to ensure they are treated ethically?
• What tools (conceptual and physical) will you use, and why?

It’s appropriate to cite other research here. When you need to justify your choice of a particular research method or tool, for example, you can cite a text describing the advantages and appropriate usage of that method.

Don’t overdo this, though; you don’t need to reiterate the whole theoretical literature, just what’s relevant to the choices you have made.

Moreover, your research will necessarily involve analysing the data after you have collected it. Though you don’t know yet what the data will look like, it’s important to know what you’re looking for and indicate what methods (e.g. statistical tests , thematic analysis ) you will use.

Theoretical research

You can also do theoretical research that doesn’t involve original data collection. In this case, your methodology section will focus more on the theory you plan to work with in your dissertation: relevant conceptual models and the approach you intend to take.

For example, a literary analysis dissertation rarely involves collecting new data, but it’s still necessary to explain the theoretical approach that will be taken to the text(s) under discussion, as well as which parts of the text(s) you will focus on:

• This dissertation will utilise Foucault’s theory of panopticism to explore the theme of surveillance in Orwell’s 1984 and Kafka’s The Trial…

Here, you may refer to the same theorists you have already discussed in the literature review. In this case, the emphasis is placed on how you plan to use their contributions in your own research.

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You’ll usually conclude your dissertation proposal with a section discussing what you expect your research to achieve.

You obviously can’t be too sure: you don’t know yet what your results and conclusions will be. Instead, you should describe the projected implications and contribution to knowledge of your dissertation.

First, consider the potential implications of your research. Will you:

• Develop or test a theory?
• Provide new information to governments or businesses?
• Challenge a commonly held belief?
• Suggest an improvement to a specific process?

Describe the intended result of your research and the theoretical or practical impact it will have:

Finally, it’s sensible to conclude by briefly restating the contribution to knowledge you hope to make: the specific question(s) you hope to answer and the gap the answer(s) will fill in existing knowledge:

Like any academic text, it’s important that your dissertation proposal effectively references all the sources you have used. You need to include a properly formatted reference list or bibliography at the end of your proposal.

Different institutions recommend different styles of referencing – commonly used styles include Harvard , Vancouver , APA , or MHRA . If your department does not have specific requirements, choose a style and apply it consistently.

A reference list includes only the sources that you cited in your proposal. A bibliography is slightly different: it can include every source you consulted in preparing the proposal, even if you didn’t mention it in the text. In the case of a dissertation proposal, a bibliography may also list relevant sources that you haven’t yet read, but that you intend to use during the research itself.

Check with your supervisor what type of bibliography or reference list you should include.

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Caulfield, J. (2022, November 11). How to Write a Dissertation Proposal | A Step-by-Step Guide. Scribbr. Retrieved 14 May 2024, from https://www.scribbr.co.uk/thesis-dissertation/proposal/

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What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

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